they are quite so how bout that Lydian #6 #2
Nah, I like Phrygian the more. It’s the only mode that’s still used and recognized as a “mode” at the same time, unlike the Aeolian mode.
The next topic I want to discuss is something that is not very well known, that is the augmented scale, some people confuse it with the whole tone scale, but they are different. The augmented scale is in fact in many way opposite the diminished scale. To understand it first look at the tone pattern of the diminished scale
21212121
Now take a look at the pattern for the augmented scale
313131
what you will notice first is that the diminished scale is octoninc while the Augmented is hexatonic one more and one less that the normal 7 note scale. Secondly you will notice the diminished scale has a pattern that repeats every 3 semitones, 4 times per octave, while the augmented scale repeats its pattern every 4 semitones, 3 times per octave. You will notice every note in the diminished scale has a tritone, and no notes in the augmented scale do, the augmented scale can be played when you want to be creepy.
Sorry could you explain these tone patterns a little better?
Also could you give me an example of the augmented scale?
I think he’s using quantum binary code.
Anyway on an unrelated topic, here are the notes for a C augmented scale.
C Eb E G G# B C
That posted ixsetf
C_Eb_E_G_G#_B_C
3 1 3 1 3 1
I’ve never seen any other musician use that type of number code. The way I distinguish the pattern is
minor third, half step, minor third, half step, minor third, half step.
Yes, and there’s other pattern:
C_Eb_Gb_A_C If you go up by minor third, you’ll have a pattern of 4 notes and a tritone each 2 (C-Gb Eb-A)
3 3 3 3
C_E_A#_C If you go up by major third, you’ll have a pattern of 3 notes and a augmented triad each 3 consecutives notes (all)
4 4 4
Three things I want to address: Aug/Maj chord relations, Arpeggios, and Reliefs.
While we are on the topic of Augmented scales and stuff, there is one random fact I have realized:
There are two ways to make an augmented chord major by changing only 1 semitone.
The obvious way: Bring the fifth down a semitone
Also: Bring the third down a semitone. For instance, if you use a C Aug containing C E G# and flat the third C Eb G# you have an inverted G#/Ab major scale.
We all know what Arpeggios are, correct. I just want to clear up a common misconception some people make with arpeggios. Arpeggios include, but are not limited to, major arpeggios. Major arpeggios are the most common, especially with scales, but one can also have a minor, aug, dim, just to state the common ones. I know most people are aware of the many different arpeggios. I Just wanted to state that an arpeggio is the note of a chord played separately, and is not limited to just major chords.
Final statement: Reliefs.
We all have heard reliefs used before. Reliefs build tension in preparation for a certain chord. For example, a suspended relief. A suspended relief is one of the most common reliefs. It contains a progression of 3 different chords, I will use the key of C major in my example. Csus2, Csus4, and Cmaj (You can switch the first two chords if you wish, as long as it ends with Cmaj.) Other reliefs include 7th relief, 9/maj7/maj, and many more. I love the correct use of reliefs because, as stated, they build tension before that final chord, and when that final chord hits, it relieves all that built up tension. Usually the chorus follows a relief and is usually forte or fortissimo (I’ve actually seen quadrupole forte before, which I did not even believe existed.)
Relieves are often used in movies at the correct moment to make the big hit even bigger.
These are a few things I think any aspiring musician should be aware of, though many of you already know there things, just spreading these thoughts around.
Thanks guitar mania! Reliefs sound exciting.
I don’t get reliefs…
Reliefs are hard to explain, but just try this.
Csus4 (C F G C)
Csus2 (C D G C)
Cmaj (C E G C)
Examples:
These show how one would incorporate reliefs into a song also. As you can see a relief occurs when you build up tension, for examples the first two chords in the first measure, and then relieve the tension, 3rd chord in the first measure.
Oh, it’s just a type of chord progression? I thought it was some kind of non-chordal tone becuase of it being named suspended.
Suspended notes are in chords.
But suspend NCT is a type of NCT.
By the way, it is possible to have a non-chordal relief, not very common though. An example of this is when you would use an accidental and then proceed to a note in the key, or when you ascend or descend to a note in that key (most likely the root of the key.
Example:
As you can see, in measure 2 you go from G# to Ab. On sheet one, you ascend up to a C, then in a scale in thirds. Then a trill without hitting a C until the end.
Example one is the most used as far as non-chordal reliefs.
Is music relief when you break tension? Because I know vii and V want to return to I a lot
That’s called resolving. IV also wants to go to iii. The reason vii and V go to one is becuase in the diatonic scale, The 7th note wants to go to the first note, which is in both V and vii.
O.O
I’ll just be redirecting myself from this thread…
Bullcrap.
Holy f*** there’s too many different types of music in the world, I don’t even know if I’m half way done with my website. No wonder all the good classical musicians usually have masters degrees.